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Regional Reviews: Minneapolis/St. Paul Putting It Together Also see Arty's review of The Illusion
Thirty-one musical numbers are drawn from most of the shows for which Sondheim wrote both music and lyrics—no entries from collaborations like West Side Story or Gypsy. There is a version of "Do I Hear a Waltz" that differs markedly from the one used in that musical, for which Sondheim provided lyrics only for Richard Rodgers' music. Some of the offerings will be known to those only somewhat familiar with Sondheim's work—such as "The Ladies Who Lunch," "Being Alive," "Hello, Little Girl" (the Wolf's song from Into the Woods) and "Sooner or Later" (the Oscar winning song Madonna sings in the movie Dick Tracy). Others are more obscure, including three other songs from Dick Tracy, songs cut from Anyone Can Whistle and A Little Night Music, and "Country House" which was inserted into the 1987 London premiere of Follies, but not heard in any of the show's New York productions. Merrily We Roll Along is well-represented with five songs, a boon for champions of that rarely seen show with its beautiful score and problematic book. The most slender of themes frames the show. We are witness to a sophisticated cocktail party—black tie, black cocktail dresses, penthouse terrace view—in which two couples are depicted, one slightly older (called Man One and Woman One in the program) struggling to keep from pulling apart, the other somewhat younger (Man Two and Woman Two) in the early throes of exploring their potential as romantic partners. A fifth character (Man Three) serves as our host, opening in front of the curtain with the humorous "Invocations and Instructions to the Audience" from The Frogs, singing backing harmonies on some of the other numbers, and given a couple of solo spotlights. Most of the songs fit very nicely into the broad theme of the two relationships, even with no specificity as to character or situation. There are also opportunities for commiserating between the two men ("Pretty Women," "Have I Got a Girl for You") and the two women ("Every Day a Little Death," "There's Always a Woman"). A few of the songs are effective in ways that differ from their original shows, such as "Unworthy of Your Love" from Assassins and "Everybody Ought to Have a Maid" from A Funny Thing Happened on the Way to the Forum. The ensemble, composed of Paul Coate, Vicki Fingalson, Emily Gunyou Halaas, Jeffrey Madison and Gabriel Preisser, all have strong voices, move well, and bring dramatic delivery to their numbers. Each has background in opera and light opera, which is put to good effect in mining Sondheim's songs for both meaning of their lyrics and the drama imbedded in the melodies. Coate, as the host, brings twinkle-eyed warmth to the show's opening, in front of a lush red curtain. He imbeds sly humor into a gender-swapped "Everybody Ought to Have a Maid," but in "Buddy's Blues," lacks the sense of desperation and break-down that makes that number so gut-wrenching in Follies. Vicki Fingalson is especially strong as a seductress who "Sooner or Later" gets her man, and as the successful gal who still seeks "More." Emily Gunyou Halaas wonderfully recalls her pre-wedding panic in "Getting Married Today." Her intense delivery of "Like It Was" is rife with regret. Her rendition of "The Ladies Who Lunch" takes a quieter, perhaps defeated tone, in contrast to the defiance it has in association with Elaine Stritch and Patti Lupone—a contrast that works to create a different idea of the song's meaning. Jeffrey Madison has two especially strong turns that speak to lost opportunity and fading hopes: "The Road You Didn't Take" and "Good Thing Going." His delivery of "Hello, Little Girl" is all the creepier out of context of the Wolf character. Presser and Halaas together do a swell job with the little known "Country House," imbedding it with a full measure of frustration and denial. Finally, Gabriel Presser is wonderful as the male ingĂ©nue throughout, fully coming into his own in a gorgeous "Marry Me a Little." "Being Alive," usually a solo, is effective as an ensemble piece, knitting the players together in one common hope. As the finale, "Old Friends" ends the show on an upbeat note, though it has little bearing with the ache and pain of relationships depicted throughout the program. Robert Neu's stage direction moves fluidly from one number to the next, pausing when needed to emphasize shifts in mood. Performers linger after delivering a song as the next performer begins theirs, providing the feel of an actual cocktail party. With a simple single set—a posh but sterile party room—and with each performer wearing the same formal wear throughout, the production is as simple as the material is sophisticated. Lighting design is used well to focus on performers and to alter the mood to reflect differing shades of regret, disappointment, anxiety, and yearning. Led by music director Andrew Fleser, the eight piece orchestra sounds terrific, as if channeled straight from the Great White Way. I cannot say that Putting It Together is a great show. The songs are stellar, but the framework a bit clunky and at times contrived, and not all of the songs hit high marks in delivery. Given a chance, I would prefer any one of Sondheim's musicals to this revue. Still, in the meantime, a couple of hours in the company of five talented performers presenting songs by the master, embracing old favorites and welcoming some that are new to me, is a perfectly good way to enjoy the genius of Sondheim. Putting It Together continues through June 20, 2015, a Skylark Opera Festival production at the E. M. Pearson Theater, Concordia University, 1282 Concordia Ave., St. Paul, MN. Tickets: $45.00, Seniors (65+) and Minnesota Public Radio members: $39.00, Super Saver (first row): $29.00, Students (with ID): $22.00, children 10 —16: $15.00. For tickets go to skylarkopera.org or call 651-292-4309. Words and Music: Stephen Sondheim; Devised by: Stephen Sondheim and Julia McKenzie; Orchestrations: Jonathan Tunick; Stage Director: Robert Neu; Music Director and Pianist: Andrew Fleser; Scenic Design: Kit Mayer; Costume Design: Lynn Farrington; Lighting Design: Michael Wangen; Prop Master: Sarah Holmberg; Stage Manager and Sound Design: Christopher Marc; Production Coordinator: Jane Ryan; Skylark Opera Artistic Director: Steve Stucki Cast: Paul Coate (Man Three), Vicki Fingalson (Woman Two), Emily Gunyou Halaas (Woman One), Jeffrey Madison (Man One), Gabriel Preisser (Man Two).
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